Manchester Apollo, Tuesday 20th April 2004
When you see a Man with a jumper draped over his shoulders heading for the front row of a gig, you certainly know that you haven’t purchased tickets for Motorhead.
If you were looking for someone to blame for the current crop of jazz-lite artists currently clogging up the charts, non-entities such as Jamie Callum and Katie Melua Nora Jones is an easy target. Her success has brought a deluge of similarly jazz crossover acts.
Though not my artist of choice – I was very much the plus one equation in the purchase of these tickets, an Evening with Nora Jones is not too arduous a task as I thought it might be.
In the quite expansive arena that is the Manchester Apollo the feel of the show, is that of a bar room band playing in a smoky saloon bar.
Nora Jones cuts a somewhat down to earth presence as she kicks off her shoes to open the proceedings with ’Cold Cold Heart’. The set features many of the tracks from her two successful albums, plus the odd other song thrown in for good effect, including a country version of AC/DC’S ‘Ride on me’.
She was equally at home on her own at the piano or backed by her band and she carried the songs though the night. The pace of the set was good, but perhaps a little too similar throughout. One criticism that people level at her is that live she sounds no different than she does on record. Where as on record it makes perfect background music or something relaxing, live it needs to be a bit more panoramic to catch the attention.
It certainly was a pleasant enough experience, but not one that gets me rushing out to buy the records or witness her next gig.
Tuesday, April 20, 2004
Monday, March 29, 2004
Super Furry Animals
Liverpool Royal Court, Saturday 27th March 2004
Expect the unexpected - that is something that you come to take for granted with a Super Furry Animals live set these days. For a band that has made the live experience something different this tour saw the Super Furries with a hard act to follow.
Sadly no Quadraphonic sound, Inflatables, or Tanks this time - upon entering the Royal Court tonight the stage is set up with huge cardboard cut outs of the animals that adorn the latest album ‘Phantom Power’.
The show starts surreally enough with lead singer Gruff wandering on wearing what looks like a cross between Darth Vader’s helmet and a Bikers helmet.
The set covers all points of a career, which has been very productive in the extreme. Some of the songs they played I had forgotten that they had done them, but I was grateful for them for reacquainting me with them. Wonderful tunes were unearthed from the classic debut album ‘Fuzzy Logic’.
Newer songs held up quite well too. ‘Hello Sunshine’ has the potential to be a future summer hit and the recent single ‘Golden Retriever’ was played with gusto, but sadly not in the costumes that accompanied the video.
The bi-lingual band also played songs from the Welsh Language album Mwng– songs such ‘Calimero’ were aired much to the delight of the audience, with no doubt a few punters from across the border singing along.
Visuals were used to good effect when accompanied with the songs, especially on the final song of the night ‘The Man Don’t Give A Fuck’. The screens flashed the slogan “All Governments are Liars and Murderers” while subliminal images of Blair and Bush appear.
The song mutates into a fifteen minute DJ set before the band return in the Golden Retriever costumes to finish off a wonderfully varied and interesting set.
Expect the unexpected - that is something that you come to take for granted with a Super Furry Animals live set these days. For a band that has made the live experience something different this tour saw the Super Furries with a hard act to follow.
Sadly no Quadraphonic sound, Inflatables, or Tanks this time - upon entering the Royal Court tonight the stage is set up with huge cardboard cut outs of the animals that adorn the latest album ‘Phantom Power’.
The show starts surreally enough with lead singer Gruff wandering on wearing what looks like a cross between Darth Vader’s helmet and a Bikers helmet.
The set covers all points of a career, which has been very productive in the extreme. Some of the songs they played I had forgotten that they had done them, but I was grateful for them for reacquainting me with them. Wonderful tunes were unearthed from the classic debut album ‘Fuzzy Logic’.
Newer songs held up quite well too. ‘Hello Sunshine’ has the potential to be a future summer hit and the recent single ‘Golden Retriever’ was played with gusto, but sadly not in the costumes that accompanied the video.
The bi-lingual band also played songs from the Welsh Language album Mwng– songs such ‘Calimero’ were aired much to the delight of the audience, with no doubt a few punters from across the border singing along.
Visuals were used to good effect when accompanied with the songs, especially on the final song of the night ‘The Man Don’t Give A Fuck’. The screens flashed the slogan “All Governments are Liars and Murderers” while subliminal images of Blair and Bush appear.
The song mutates into a fifteen minute DJ set before the band return in the Golden Retriever costumes to finish off a wonderfully varied and interesting set.
Saturday, January 24, 2004
Ryan Adams
Liverpool Royal Court Theatre, 22nd January 2004
Set List: Luminol; So Alive; 1974; Note to Self: Don’t Die; Do Miss America; This is it; Love is Hell; Anybody Wanna Take Me Home? Shallow; To be young (is to be sad, is to be high); Please Don’t Let Me Go; I See Monsters; La Cienega just smiled; New York City Cops; Last Nite; Oh My Sweet Carolina; New York, New York; Come Pick Me Up; Sylvia Plath; My Blue Manhattan; Shadowlands.
A gig scheduled on a cold mid-week in that post-Christmas lull that is known as January is certainly not one that will grab the punters off the street. This is though was not any other gig – tonight is Ryan Adams - on a brief sojourn across the country promoting three records.
Well one in truth – Rock n Roll, the proper album. Love is Hell – the record that met with record company horror on completion and has so far been released as two Ep’s on import only.
Ryan Adams is no ordinary artist and this was certainly no ordinary gig. This was shown when Adams appeared as a drummer halfway through support act Jesse Mallin’s set.
Mallin and Adams both contemporaries of the New York music scene and members of the side project The Finger – yet another Adams release in 2003. Jesse Mallin’s set was a perfect introduction to Ryan Adams, which soon followed.
The early part of Ryan Adam’s set drew heavily from the Rock n Roll album and used the full band to full effect. The album seemed to make more sense live, than it does on record. A record that was born of frustration and sombre in tone is a perfect way for Adams to let loose some of the demons within on this tour.
Adams a prolific artist and usually engaging stage presence was in fairly subdued mood for the first part of the proceedings – interaction with the audience was minimal, as he rattled through the best bits of the new album.
He ended the first part of the set with To Be Young (is to be sad, is to be high) from Heartbreaker.
After a short break Adams came back refreshed; in many senses of the word accompanied with a guitar. He played a selection of his vast body of work – interspersed with light-hearted versions of The Stroke’s New York City Cops and Last Nite.
The band came back for New York, New York - a song that has added significance in that the video was filmed using The Twin Towers as the backdrop in the week before September 11th.
In his refreshed state, Adams clamoured up on the speaker stack at the right to serenade a poor spectator, unbeknown to Adams, who had been moved when a impressively inebriated punter had projectile vomited all over her in her seat in the stalls.
The band reconvened for Shadowlands with Adams now safely down from the teetering speaker stack was moving perilously close to the front of the Royal Court’s stage. To the audience’s horror Ryan Adams fell into the pit in front of the stage that separates the audience and performers.
An almighty thud followed by Adams heroically completing the lyrics to the song. The band played on waiting for Adams to return. Helped up by the attendant security guards, Adams clutching his arm ran from the stage in obvious discomfort. The band completed the song and then left the stage. Drummer Johnny T shouted from the stage ‘that’ll be the last gig for a while’. It transpires that Ryan Adams has broken his arm and Johnny T’s prophecy is an apt one.
This was certainly a memorable gig - what with the sideshows involving the crowd. (I never had time to mention the fight that went off in the crowd tonight also). Despite Ryan Adams sombre nature, musically the gig was top notch too.
It’s hard to sum tonight’s events really, maybe just to say get well soon Ryan and I’ll certainly be at the front of the queue when the next tour’s tickets go on sale.
Set List: Luminol; So Alive; 1974; Note to Self: Don’t Die; Do Miss America; This is it; Love is Hell; Anybody Wanna Take Me Home? Shallow; To be young (is to be sad, is to be high); Please Don’t Let Me Go; I See Monsters; La Cienega just smiled; New York City Cops; Last Nite; Oh My Sweet Carolina; New York, New York; Come Pick Me Up; Sylvia Plath; My Blue Manhattan; Shadowlands.
A gig scheduled on a cold mid-week in that post-Christmas lull that is known as January is certainly not one that will grab the punters off the street. This is though was not any other gig – tonight is Ryan Adams - on a brief sojourn across the country promoting three records.
Well one in truth – Rock n Roll, the proper album. Love is Hell – the record that met with record company horror on completion and has so far been released as two Ep’s on import only.
Ryan Adams is no ordinary artist and this was certainly no ordinary gig. This was shown when Adams appeared as a drummer halfway through support act Jesse Mallin’s set.
Mallin and Adams both contemporaries of the New York music scene and members of the side project The Finger – yet another Adams release in 2003. Jesse Mallin’s set was a perfect introduction to Ryan Adams, which soon followed.
The early part of Ryan Adam’s set drew heavily from the Rock n Roll album and used the full band to full effect. The album seemed to make more sense live, than it does on record. A record that was born of frustration and sombre in tone is a perfect way for Adams to let loose some of the demons within on this tour.
Adams a prolific artist and usually engaging stage presence was in fairly subdued mood for the first part of the proceedings – interaction with the audience was minimal, as he rattled through the best bits of the new album.
He ended the first part of the set with To Be Young (is to be sad, is to be high) from Heartbreaker.
After a short break Adams came back refreshed; in many senses of the word accompanied with a guitar. He played a selection of his vast body of work – interspersed with light-hearted versions of The Stroke’s New York City Cops and Last Nite.
The band came back for New York, New York - a song that has added significance in that the video was filmed using The Twin Towers as the backdrop in the week before September 11th.
In his refreshed state, Adams clamoured up on the speaker stack at the right to serenade a poor spectator, unbeknown to Adams, who had been moved when a impressively inebriated punter had projectile vomited all over her in her seat in the stalls.
The band reconvened for Shadowlands with Adams now safely down from the teetering speaker stack was moving perilously close to the front of the Royal Court’s stage. To the audience’s horror Ryan Adams fell into the pit in front of the stage that separates the audience and performers.
An almighty thud followed by Adams heroically completing the lyrics to the song. The band played on waiting for Adams to return. Helped up by the attendant security guards, Adams clutching his arm ran from the stage in obvious discomfort. The band completed the song and then left the stage. Drummer Johnny T shouted from the stage ‘that’ll be the last gig for a while’. It transpires that Ryan Adams has broken his arm and Johnny T’s prophecy is an apt one.
This was certainly a memorable gig - what with the sideshows involving the crowd. (I never had time to mention the fight that went off in the crowd tonight also). Despite Ryan Adams sombre nature, musically the gig was top notch too.
It’s hard to sum tonight’s events really, maybe just to say get well soon Ryan and I’ll certainly be at the front of the queue when the next tour’s tickets go on sale.
Love with Arthur Lee
Friday 24th January 2004, Liverpool Academy
The current vogue is for nostalgia tours for bands trying to eek out one last big payday before Butlins and summer season beckons, bands who meant nothing in the first place trading on perceived former glories. You can see it now – summer 2010 - Blue, Busted and Blink 182. Performing on Hear and Now 2010.
This is certainly not the case with Love who are touring an album that was released thirty years ago and still sounding fresher and more interesting than anything that is currently being released. It’s payback time for Arthur Lee whose life can certainly be described to be colourful, to say the least.
Arthur Lee released a couple of years ago after a twelve year stretch in prison, having fallen foul of the three strikes and you are out rule, Lee is certainly is in the mood to make up for lost time.
Though not strictly Love - Arthur Lee’s current incarnation backed ably by the band Baby Lemonade are about fulfilling the legendary status of Arthur Lee.
It could be argued that Liverpool is Lee’s spiritual home and tonight’s audience was certainly a who’s who of the Liverpool music scene – both new and old. It is one of the requirements in this cities musicians apart the obvious albums to own a copy of ‘Forever Changes’.
The band was greeted by a rapturous reception by the audience much to the delight of Lee. The night started off with a storming version of ‘Little Red Book’ and a few other tunes warming up to the main part of the show. Love were soon down by a string quartet for the start of the run through of ‘Forever Changes’ from start to finish.
The familiar tones of ‘Alone Again or’ written by Brian McLean (sadly no longer with us) prompted the crowd to acknowledge their appreciation. They continued to do so at every change of tempo during the song. The band could have gone of there and the ticket price would have been more than covered.
Thankfully they didn’t and the rest of ‘Forever Changes’ was brilliantly played by the musicians on stage and received by the Liverpool crowd. ‘A House is not a motel’ was superbly executed and was given a fresh impetus by the band. Though liberties weren’t taken with the music, the band did add their own stamp on the songs. Even the string quartet seemed to be enjoying the songs as much as the audience.
The later section of the gig saw other Love albums showcased – songs such as ‘signed DC’, ‘My Flash On You’ and ‘She Comes in Colours’. He paid tribute to his friend John Lennon, before playing ‘Everybodies Gotta Live’ which segued into ‘Instant Karma’.
Lee even slipped in a new song ‘My Anthem’ though sounding a little too much like Big Country for comfort; this was well received by the audience. To be fair he could have played a Spice Girls song tonight and the reception would not have been any less ecstatic.
The sad part about tonight’s gig was certainly that it had to end, but not before the promise of a return from Arthur Lee. If that gig is half as good as tonight’s then it will be one that I won’t want to miss. Tonight was nothing short of brilliant and was well worth leaving the house on a cold January night.
The current vogue is for nostalgia tours for bands trying to eek out one last big payday before Butlins and summer season beckons, bands who meant nothing in the first place trading on perceived former glories. You can see it now – summer 2010 - Blue, Busted and Blink 182. Performing on Hear and Now 2010.
This is certainly not the case with Love who are touring an album that was released thirty years ago and still sounding fresher and more interesting than anything that is currently being released. It’s payback time for Arthur Lee whose life can certainly be described to be colourful, to say the least.
Arthur Lee released a couple of years ago after a twelve year stretch in prison, having fallen foul of the three strikes and you are out rule, Lee is certainly is in the mood to make up for lost time.
Though not strictly Love - Arthur Lee’s current incarnation backed ably by the band Baby Lemonade are about fulfilling the legendary status of Arthur Lee.
It could be argued that Liverpool is Lee’s spiritual home and tonight’s audience was certainly a who’s who of the Liverpool music scene – both new and old. It is one of the requirements in this cities musicians apart the obvious albums to own a copy of ‘Forever Changes’.
The band was greeted by a rapturous reception by the audience much to the delight of Lee. The night started off with a storming version of ‘Little Red Book’ and a few other tunes warming up to the main part of the show. Love were soon down by a string quartet for the start of the run through of ‘Forever Changes’ from start to finish.
The familiar tones of ‘Alone Again or’ written by Brian McLean (sadly no longer with us) prompted the crowd to acknowledge their appreciation. They continued to do so at every change of tempo during the song. The band could have gone of there and the ticket price would have been more than covered.
Thankfully they didn’t and the rest of ‘Forever Changes’ was brilliantly played by the musicians on stage and received by the Liverpool crowd. ‘A House is not a motel’ was superbly executed and was given a fresh impetus by the band. Though liberties weren’t taken with the music, the band did add their own stamp on the songs. Even the string quartet seemed to be enjoying the songs as much as the audience.
The later section of the gig saw other Love albums showcased – songs such as ‘signed DC’, ‘My Flash On You’ and ‘She Comes in Colours’. He paid tribute to his friend John Lennon, before playing ‘Everybodies Gotta Live’ which segued into ‘Instant Karma’.
Lee even slipped in a new song ‘My Anthem’ though sounding a little too much like Big Country for comfort; this was well received by the audience. To be fair he could have played a Spice Girls song tonight and the reception would not have been any less ecstatic.
The sad part about tonight’s gig was certainly that it had to end, but not before the promise of a return from Arthur Lee. If that gig is half as good as tonight’s then it will be one that I won’t want to miss. Tonight was nothing short of brilliant and was well worth leaving the house on a cold January night.
Friday, December 5, 2003
Human League
Liverpool University, Friday 5th December 2003
For a band associated with all that’s glitzy and at times tacky of the culture that was the 1980’s, tonight’s gig was something else. A cold night in Liverpool at the Liverpool Academy was certainly as far removed from the days of legwarmers and mullets as it ever could be, but an hour in the company of the Human League transported you back to all that was good about the era that style forgot.
Essentially a greatest hits set, with the odd curio thrown in to keep the more ardent fan happy; tonight’s gig showed a band that was still on top of its musical game.
At times Phil Oakey was in danger of losing his voice, but he need not worry as he had the mass ranks of the Liverpool Academy audience to prop him up.
Tonight’s audience were almost as good as the band as a spectacle. The age of the audience was varied from the hardcore that saw them in their heyday, to the younger ones who wanted to do something different on a Friday night.
The make up of the audience was something to behold. When you sit down and analyse the Human Leagues lyrics you do have to say they are not the best. But when you see 40-year-old hairy arsed builders singing along to songs such as ‘Together in Electric Dreams’ it does restore your faith in the human spirit a little.
It was the fourth night of a fifteen-date tour and despite one or two technical difficulties, the band stuck to a tried a tested set list of virtually all the hits.
The stage set was well-designed and afforded Phil Oakey to camp it up from all parts of the stage. Susan and Joanne were perched either side of Oakey when he was front of stage, and at intervals they both disappeared for costume changes throughout the night.
Predictably the last song of the night before the well-deserved encore was ‘Don’t You Want Me Baby’ this was in not the highlight of the set, that was reserved for the final song of the night ‘Together In Electric Dreams’, a song I have never liked was brilliant delivered by the band and sung along by the builders in audience with gusto.
Future plays of this song will conjure up images of tonight’s proceedings. A top gig, if not one of the best I’ve ever seen.
For a band associated with all that’s glitzy and at times tacky of the culture that was the 1980’s, tonight’s gig was something else. A cold night in Liverpool at the Liverpool Academy was certainly as far removed from the days of legwarmers and mullets as it ever could be, but an hour in the company of the Human League transported you back to all that was good about the era that style forgot.
Essentially a greatest hits set, with the odd curio thrown in to keep the more ardent fan happy; tonight’s gig showed a band that was still on top of its musical game.
At times Phil Oakey was in danger of losing his voice, but he need not worry as he had the mass ranks of the Liverpool Academy audience to prop him up.
Tonight’s audience were almost as good as the band as a spectacle. The age of the audience was varied from the hardcore that saw them in their heyday, to the younger ones who wanted to do something different on a Friday night.
The make up of the audience was something to behold. When you sit down and analyse the Human Leagues lyrics you do have to say they are not the best. But when you see 40-year-old hairy arsed builders singing along to songs such as ‘Together in Electric Dreams’ it does restore your faith in the human spirit a little.
It was the fourth night of a fifteen-date tour and despite one or two technical difficulties, the band stuck to a tried a tested set list of virtually all the hits.
The stage set was well-designed and afforded Phil Oakey to camp it up from all parts of the stage. Susan and Joanne were perched either side of Oakey when he was front of stage, and at intervals they both disappeared for costume changes throughout the night.
Predictably the last song of the night before the well-deserved encore was ‘Don’t You Want Me Baby’ this was in not the highlight of the set, that was reserved for the final song of the night ‘Together In Electric Dreams’, a song I have never liked was brilliant delivered by the band and sung along by the builders in audience with gusto.
Future plays of this song will conjure up images of tonight’s proceedings. A top gig, if not one of the best I’ve ever seen.
Saturday, November 22, 2003
Radiohead
Manchester Evening News Arena, Saturday 22nd November 2003
Set List: There There; 2 + 2 = 5, Lucky; Myxomatosis; Where I end You Begin; Backdrifts; fake Plastic Trees; Paranoid Android; Sail To The Moon; I Might Be Wrong; Climbing The Walls; My Iron Lung; Sit Down, Stand Up; Scatterbrain; National Anthem; Exit Music; Idioteque; The Gloaming; Go To Sleep; The Bends; Street Spirit; A Wolf At The Door; Karma Police; Everything In It’s Place.
Back in the big arenas after this tours various warm up shows and the last major tours use of big top circus tents. Radiohead may have found the perfect place to deliver to the music they are now performing; the sparse electronica that can sound a little cold and digitised on record, but in this sort of arena bounces around this vastness of the place.
The energetic Asian Dub Foundation, are the tour band of choice for Radiohead. They are a band with a similar message to deliver though from a slightly different direction. There set is one that goes down well with tonight’s audience.
At 9 o’clock sharp the lights dim and the band emerge to electronic white noise. The band launches into in my opinion the single of the year ‘There There’. On record this is a fantastic 5-minute experience – live it is something else, with Guitarist’s Ed O’Brien and Jonny Greenwood pound away thrashing out tribal rhythms at two drums. Before grabbing the guitars to take the song to a different level altogether.
One song in and you wonder how they follow that? Instead of relying on the sure fire crowd pleasers, Radiohead explore the more avant-garde output of their last three albums. The reaction from the crowd to these songs is fairly good. You get the feeling that majority of the crowd haven’t just come to see if they’ll play ‘Creep’ (which they don’t) but that they’ll give the rest of the bands output a listen.
The set draws heavily from the politicised last album ‘Hail To The Thief’. As well as from the other electronic based ‘Kid A’ and ‘Amnesiac’.
The other albums are not neglected though. ‘Fake Plastic Trees’ is given a great reception at its start as to did songs like ‘My Iron Lung’ and ‘Paranoid Android’ a song that just gets better every time that you hear it.
Front man Thom Yorke doesn’t go much on the between song banter but he has something of magnetic personality about him that keeps the crowd enthralled. He was a bundle of nervous energy as he spins around the stage like a whirring dervish. While the band solidly concentrate on getting the sound across.
It was an astonishing performance from a band very much at the top of their game. Tonight was very much the end of phase one as a band what with the soon to expire record contract. Here’s hoping that the next phase is as exciting and varied as the last.
Set List: There There; 2 + 2 = 5, Lucky; Myxomatosis; Where I end You Begin; Backdrifts; fake Plastic Trees; Paranoid Android; Sail To The Moon; I Might Be Wrong; Climbing The Walls; My Iron Lung; Sit Down, Stand Up; Scatterbrain; National Anthem; Exit Music; Idioteque; The Gloaming; Go To Sleep; The Bends; Street Spirit; A Wolf At The Door; Karma Police; Everything In It’s Place.
Back in the big arenas after this tours various warm up shows and the last major tours use of big top circus tents. Radiohead may have found the perfect place to deliver to the music they are now performing; the sparse electronica that can sound a little cold and digitised on record, but in this sort of arena bounces around this vastness of the place.
The energetic Asian Dub Foundation, are the tour band of choice for Radiohead. They are a band with a similar message to deliver though from a slightly different direction. There set is one that goes down well with tonight’s audience.
At 9 o’clock sharp the lights dim and the band emerge to electronic white noise. The band launches into in my opinion the single of the year ‘There There’. On record this is a fantastic 5-minute experience – live it is something else, with Guitarist’s Ed O’Brien and Jonny Greenwood pound away thrashing out tribal rhythms at two drums. Before grabbing the guitars to take the song to a different level altogether.
One song in and you wonder how they follow that? Instead of relying on the sure fire crowd pleasers, Radiohead explore the more avant-garde output of their last three albums. The reaction from the crowd to these songs is fairly good. You get the feeling that majority of the crowd haven’t just come to see if they’ll play ‘Creep’ (which they don’t) but that they’ll give the rest of the bands output a listen.
The set draws heavily from the politicised last album ‘Hail To The Thief’. As well as from the other electronic based ‘Kid A’ and ‘Amnesiac’.
The other albums are not neglected though. ‘Fake Plastic Trees’ is given a great reception at its start as to did songs like ‘My Iron Lung’ and ‘Paranoid Android’ a song that just gets better every time that you hear it.
Front man Thom Yorke doesn’t go much on the between song banter but he has something of magnetic personality about him that keeps the crowd enthralled. He was a bundle of nervous energy as he spins around the stage like a whirring dervish. While the band solidly concentrate on getting the sound across.
It was an astonishing performance from a band very much at the top of their game. Tonight was very much the end of phase one as a band what with the soon to expire record contract. Here’s hoping that the next phase is as exciting and varied as the last.
Sunday, June 1, 2003
Paul McCartney
Liverpool Kings Dock, Sunday 1st June 2003
There is always something special about being on the banks of the River Mersey in the summertime. Especially when an event like this is taking place. The setting sun over the disused docks on the Birkenhead side of the water offers a backdrop that is hard to beat. Even the faint hint of rain is not likely to wash away the atmosphere that had built up in the afternoon preceding the gig.
In front of 35,000 fans from around the world, Macca was coming home – the conclusion of his Back In The World tour.
With no support – who would want that unenviable task. The proceedings started with a dance troop which seemed to go on for an age and just as you beginning to think turn this in, the familiar figure of Paul McCartney appeared on the large screens at the back of the stage, holding that familiar Hofner bass, accompanied by the crashing opening chords of ‘Hello, Goodbye’. Thirteen years on since his last visit, he was indeed back home.
The set list covered all phases of his illustrious 40-year career and was one that owner’s of the Back in The World DVD or CD or visitors to previous concerts would be familiar with, with a few notable additions for the home crowd – ‘Maggie May’ and his first-ever composition ‘I Lost My Little Girl’. With a back catalogue like Paul McCartney’s, the hard part was probably what to leave out.
The classic songs where treated with the respect that they deserve by the fantastic band that McCartney has put together for this our, though with a few embellishments of their own. No more so was this highlighted with the powerhouse drumming of Abe Laboriel during ‘Maybe I’m Amazed’ that took a great song to another level.
The set that ran to over three hours had something for everyone and left you not only impressed by the quality of his songwriting, but his stamina too. At 63 years young this was some feat.
The pace at the start of the gig was something else as he rattled through his hits from Wings and The Beatles. As the pace slowed down McCartney turned his thoughts to absent friends. Linda his wife who was up on stage the last time he played here. To John Lennon and George Harrison sadly no longer with us he shared some memories of growing up in Liverpool as well as treating us to a playful tribute to George by playing his classic ‘Something’ on the ukulele.
The band returned and the hits kept on coming. The pyrotechnics on ‘Live and Let Die’ were a particular highlight. This tour contained the most Beatles songs that McCartney has performed live. Some that he had performed live for the first time ever. The time ticked on and the hits kept on coming and the crowd could not have asked for anymore with trusty crowd pleasers such as ‘Let It Be’ and ‘Hey Jude’ being sung with equal gusto to that of the band.
Sadly all good things have to come to end and after a generous encore, in which Paul McCartney clearly emotional at the reception he had received. Summed up his feelings by saying. “To be on the banks of the Mersey with you lot is special. Word’s can’t express how I feel tonight.”
‘Sergeant Pepper/ The End’ closed the night’s proceedings leaving those who witnessed the event traipsing off into the night thoroughly entertained and hoping that McCartney would hold his promise to come back and perform much sooner than the last wait for a hometown gig. On the evidence of tonight’s performance one night wont be enough.
There is always something special about being on the banks of the River Mersey in the summertime. Especially when an event like this is taking place. The setting sun over the disused docks on the Birkenhead side of the water offers a backdrop that is hard to beat. Even the faint hint of rain is not likely to wash away the atmosphere that had built up in the afternoon preceding the gig.
In front of 35,000 fans from around the world, Macca was coming home – the conclusion of his Back In The World tour.
With no support – who would want that unenviable task. The proceedings started with a dance troop which seemed to go on for an age and just as you beginning to think turn this in, the familiar figure of Paul McCartney appeared on the large screens at the back of the stage, holding that familiar Hofner bass, accompanied by the crashing opening chords of ‘Hello, Goodbye’. Thirteen years on since his last visit, he was indeed back home.
The set list covered all phases of his illustrious 40-year career and was one that owner’s of the Back in The World DVD or CD or visitors to previous concerts would be familiar with, with a few notable additions for the home crowd – ‘Maggie May’ and his first-ever composition ‘I Lost My Little Girl’. With a back catalogue like Paul McCartney’s, the hard part was probably what to leave out.
The classic songs where treated with the respect that they deserve by the fantastic band that McCartney has put together for this our, though with a few embellishments of their own. No more so was this highlighted with the powerhouse drumming of Abe Laboriel during ‘Maybe I’m Amazed’ that took a great song to another level.
The set that ran to over three hours had something for everyone and left you not only impressed by the quality of his songwriting, but his stamina too. At 63 years young this was some feat.
The pace at the start of the gig was something else as he rattled through his hits from Wings and The Beatles. As the pace slowed down McCartney turned his thoughts to absent friends. Linda his wife who was up on stage the last time he played here. To John Lennon and George Harrison sadly no longer with us he shared some memories of growing up in Liverpool as well as treating us to a playful tribute to George by playing his classic ‘Something’ on the ukulele.
The band returned and the hits kept on coming. The pyrotechnics on ‘Live and Let Die’ were a particular highlight. This tour contained the most Beatles songs that McCartney has performed live. Some that he had performed live for the first time ever. The time ticked on and the hits kept on coming and the crowd could not have asked for anymore with trusty crowd pleasers such as ‘Let It Be’ and ‘Hey Jude’ being sung with equal gusto to that of the band.
Sadly all good things have to come to end and after a generous encore, in which Paul McCartney clearly emotional at the reception he had received. Summed up his feelings by saying. “To be on the banks of the Mersey with you lot is special. Word’s can’t express how I feel tonight.”
‘Sergeant Pepper/ The End’ closed the night’s proceedings leaving those who witnessed the event traipsing off into the night thoroughly entertained and hoping that McCartney would hold his promise to come back and perform much sooner than the last wait for a hometown gig. On the evidence of tonight’s performance one night wont be enough.
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